Catalogue of paintings by Jean-Charles Cazin : exhibited under the management of the American Art Association [at] The American Art Galleries

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special Exhibition

WORKS OF

JtCH. cazin

THE AMERICAN ART GALLERIES

Madison Square, South
NEW YORK

Digitized by the Internet Archive

in 2012 with funding from

LYRASIS Members and Sloan Foundation

http://archive.org/details/artpaintOOamer

CATALOGUE

OF

PAINTINGS

BY

JEAN-CHARLES CAZIN

EXHIBITED UNDER THE MANAGEMENT
OF THE AMERICAN ART ASSOCIATION

THE AMERICAN ART GALLERIES

madison square, south

New York

1893

Press of J. J I.iitle & Co.
Astor Place, New York

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When two v. are ago thi - d ,lhal

libition o( mj work would bi appn i iati d bj the pubhi , I ac-

the idea without any thouf hi ol spi i illation.

I | peering, at that time, such a cordial reception as

[ have received in this country, far from anl ich kindness

on thi p ' ,! '?' nnil";

taking and to whom I wish to thank most Iiall) foi their good

will ' I have always had the though! befon me, whili working, that

a ,,, anothei I mighl bi able to reumti mj scattere,
tures In painting I have ever kept certain motives in u w. 1 have

on principl! sought I iquei difficulties, and I havi spared n.

, „, 5erve foi truth to the houi oj the day or night,

rime when n was painted, dis-
the series.

This comparison, which I could onlj mak rtiallybythi lew

I had in my studio, it fa pi ' what bold to hope, may

, .„,, mpted in thi rt«i h is here brought

i i I ibli to show thai 1 bav<

tb ■ ; ■■ ' :' ' '"

[Signed] J.-CH. ( \/i\
New Yoi , Ni ember is, 1893.

SOME MODERN FRENCH
PAINTERS.

BY THEODORE CHILD.

From " Harper's Magazine," and " Art and Criticism.''
Copyright, l8go, by Harper &> Brothers.

" Qu'il soit done permis & chacun et i tous de voir avec les yeux
qu'ils ont. . . . Dans tous les arts, la victoire sera toujours a quel-
ques privile"gies qui se laisseront aller eux-memes, et les discus-
sions d'ecole passeront comme passent les modes." — George
Sand.

Whether in the annual Salons, compared with analo-
gous exhibitions in other countries, or whether at great
universal shows like the recent Paris Exhibition of 18S9,
the visitor cannot fail to be struck by the preeminence of
the French painters, by the general high average of their
talent, by their superior skilfulness of execution, and,
above all, by the energy, the variety, and the sincerity of
their vision. Preceding epochs of French civilization
have left us in their pictures a somewhat abstract image
of men and things. Modern French democracy will leave
in its painting a portrait of itself which will be precise
and absolute, for that which evidently most interests the
French painters and the French public at the present day
is living life, nature, reality, modernity.

And the modernity aimed at is not that which is con-
stituted by clothing a figure in a coat instead of in a toga
or a tunic, but that which consists in a physiognomy, a
muscular development, a habit of body which reflects the
3

states of soul, the moral peculiarities, the conditions,
struggles, and hierarchies of life, the moral intimiU of a
theme or figure. This modernity we find expressed with
the utmost intensity in certain pictures and drawings by
MM. Degas and Raffaelli, and that, too, without the aid
of scenic arrangements, attributes, or accessories, but
simply by means of the implacable rendering of charac-
teristic gestures and attitudes, of the perfect harmony of
the figures with their natural surroundings, and of the
subtle sensation of moral atmosphere which they evoke.
Amongst the portraitists, landscapists, and genre painters,
when wc compare their works with those of the past, we
notice an endeavor to give more refined esthetic realiza-
tions of sensations of nature. In the genre pictures, again,
we remark a tendency to depict scenes of real life, more
especially the life of the humble— of the peasants, of the
workers at trades — so that the collective productions of
these painters will form for posterity a vast museum of
moral and physical documents, as it were, a material and
psychological iconography of the end of this troubled
nineteenth century. Wc may even be tempted to regret
that the representation of the meaner aspects of reality
largely predominates in the compositions of contemporary
French painters, at the expense of that which is grand,
refined, delicate, or exquisite.

To analyze the moral tendencies of contemporary
French painting, to set forth the modifications of vision
and of ideals which have come to pass within the last
thirty years, to characterize even briefly the aims and
talents of the most prominent amongst the French
painters, would be an agreeable undertaking ; but unless
the subject were treated with considerable development it
would scarcely be intelligible, much less edifying, to the
general reader. In presence of the multitude of things
that appeal to the attention and interest of the men of to-
day, simplification and elimination of all that is unneces-
sary are imperative. With the rivalries and discussions
4

of schools the general reader has no concern ; from the
influences and suggestions of passing fashion it is less
easy for him to escape ; nevertheless it will be our en-
deavor in the following pages to neglect entirely conven-
tional opinions and current estimations and to speak as
concisely as is consistent with clearness of the talents and
works of a chosen few contemporary French painters
whose personality or whose achievements have given them
absolute distinction. Such men are MM. Puvis de Cha-
vannes, J. C. Cazin, Degas, Raffaelli, Aime Morot, Elie
Delaunay, Dagnan-Bouveret.

M. JEAN CHARLES CAZIN

is one of the most original and fascinating personalities
in contemporary French art, not greater than M. Puvis
de Chavannes, but great in a different way. For that
matter, it is useless and impertinent to attempt to es-
tablish any hierarchy amongst artists of complete excel-
lence. M. Cazin is a man of medium stature, with a
massive head of large volume, long gray-blond hair hang-
ing over the shoulders, features of great strength and
precision, prominent eyes, with rather heavy eyelids, an
expression of detachment from material things and absorp-
tion in some internal dream. In M. Cazin's impressive
face the large blue-gray eyes at once fix your attention by
their serenity and power ; you feel that they are implac-
able mirrors, reflecting integrally and with the most ex-
quisite delicacy of perception all that passes before them,
and at the same time you feel that they are the servants of
a great soul. These eyes are not the bright, sparkling, and
searching organs of the painters of externality, behind
which you divine nothing but a skilful workman's hand ;
they are the eyes of a poet who is a dreamer of mystic
dreams. For this man painting is not a commerce but an
inspiration ; he does not sit down with the commonplace
purpose of making a mere literal transcript of reality, but
5

rather uses nature as the means of expression, and. as it
were, the vehicle of an intimate ideal ; possessing super-
abundantly that intricate combination of intuitive percep-
tions, feelings, experience, and memory which we call
imagination, he dominates nature, and manifests in har-
monious creations the enthusiasm, the passion, the melan-
choly, the thousand shades of joy or grief, which he feels
in his communion with the great Sphinx.

M. Cazin was born at Samer, in the department of Pas-
de-Calais, in 1841. lie received his first artistic education
at Paris at the "'petite e'eole," as it used to be called,
over which M. Lecocq de Boisbaudran presided, and which
is now a decorative art school. MM. Leon Lhermitte and
Paul Renouard also went to this "petite e'eole," which
had the advantage of not teaching too much, and of leav-
ing the pupils free to develop their personality unham-
pered by rigid academic traditions. After exhibiting some
pictures in the Salons of 1864 and 1865, Cazin devoted
himself with great success to teaching art, both at the
Ecole Nationale dc Dessin, at the Kcole Speciale d'Archi-
tecture, and afterward in an art school at Tours. From
1871 to 1875 M. Cazin was living in England, Italy, and
Holland, and at one time he was engaged both in France
and in England in making artistic faience. Meantime he
was studying, completing his culture and his artistic equip-
ment, and becoming a master of all kinds of technical
processes. Like the artists of the Renaissance, M. Cazin
can express himself by the most various means — sculpture,
oil-painting, water-colors, pastel, combinations of pastel,
gouache, and wax of the most delicate aspect, to say
nothing of his ceramic work, in which he has revealed
such remarkable decorative sentiment. His great celeb-
rity as an artist is now of some ten years' standing. His
thief works exhibited at the Salon have been "The Flight
into Egypt" (1877), " Le Voyage de Tobie " (1878), " Le
Depart" (lS;c)\ " Ishmael " and "Tobie" (1880), "Sou-
venir de Fete" (iSSi), "Judith" (1883), "La Journee
6

faite " (i8S8). M. Cazin obtained a first-class medal in
18S0, and the decoration of the Legion of Honor in 1882,
on the occasion of a collective exhibition of his works.
Our illustration is a reproduction of an oil-painting called
"The Nativity." It is evening; the shades of night
are overpowering the last glow of the sunset. A roughly
thatched shed, a ladder leaning against the shed, a loose
stone wall enclosing the simple shelter, a heap of straw,
a mother and her babe, a man draped in brown garments
and resting on a staff — such are the elements of the
human scene, which is set in a harmony of gray-green
and roseate gray of indescribable and enveloping mystery.
This picture, like all M. Cazin's landscapes, is remark-
able for the distinction of its tone, the absolute verity of
the light, the quality of atmosphere and ambience. In
the exquisite study of the phenomena of light and shade,
and more especially in the endeavor to render diffused
light, M. Cazin is peculiarly modern. In the painting of
the past twenty years, more especially in French paint-
ing, the capital characteristic to be noted is precisely this
evolution of the color sense, and the concomitant intensi-
fication of the perceptive powers of the eye. The results
of this evolution are strikingly noticeable when we see a
modern picture, whether landscape or a figure subject, side
by side with an old picture. In this particular point of
atmospheric truth we remark immediately in the modern
picture a photometric quality which leads us to conclude
that the modern eye is sensitive to many things which our
fathers did not perceive. Nor is this conclusion at all
unreasonable ; for modern science has demonstrated that
our visual organs have passed through slow degrees of
progress, and that Nature has not always appeared to
man in the colors which she now wears. The Breslau
professor, Hugo Magnus, tells us that sensitiveness to
different colors was perfected gradually in the course of
ages, and this evolution, he thinks, is still far from being
complete. And in this opinion we may well join the
7

eminent inquirer when we think of the immense influence
which a precursor like Manet has had upon contemporary
painting, and of the influence which another precursor—
M. Claude Monet— is at present exercising. I speak of
both these men merely as precursors and experimenters,
because I consider that neither the one nor the other has
produced a work having that beauty, that taste, and that
mysterious and definitive charm which stamp the creations
of the consummate artist. On the other hand, both Manet
and M. Monet have studied the diffused vibrations of light
in the open air with most complete success ; their minds,
framed analytically after the model of modern rationalism,
have led them to use their eyes scientificall) — to decom-
pose color, and to fix the real effect by establishing rigor-
ously the series of relations. Hence the idea of values,
of which we have heard so much of late years. Hence,
too, that other idea of the integrity of the subject, which
is the second tenet of the contemporary French painters
of the new school— let us paint what we see, and as we
see it ; we need neither dramatic nor sentimental stories ;
truth alone is sufficient. From Manet— or, more exactly,
from Manet diluted and mitigated by Bastien-Lepage—
springs in a large measure the contemporary school of
French genre painting, about which we shall have some-
thing to say later.

Let us now return to M. Cazin. In his pictures we find
neither beautiful forms, nor grand style, nor color, in the
old sense of those terms, as they might be applied to the
works of Raphael or Paul Veronese. On the other hand,
we are struck by the evidence of researches that are at
once intellectual and technical, and thanks to which the
eye and the hand of the artist have grown in sensitive-
ness, while, at the same time, his soul has become acutely
conscious of the joy, the gayety, the dramatic expressive-
ness, the infinite poetry of light. It is by the exact and
sympathetically emotional rendering of effects of light
that M. Cazin invariably develops and enforces his theme.
8

Like Corot, M. Cazin is always full of soul ; in unheroic
and even familiar subjects he gives us the impression of
a thoughtful, serious, and yet hopeful nature ; he is al-
ways simple, always eloquent, and always sincere ; in his
pictures there is no imposing majesty of composition, no
blatant anecdote, or importunate morality ; he paints men
that he has seen, houses that exist, trees that really grow,
skies that he has not invented, and reeds whose sad music
he has overheard. Most of M. Cazin's pictures are repre-
sentations of the simplest sites, often absolutely poor in
line. One depicts the entrance of a village, with a few
cottages, some ragged poplar-trees, the roseate note of
red-tiled roofs, some unobtrusive figures, and a luminous
sky, characterized by a fugacious and subtle effect. An-
other, entitled " Une Ville Morte," reproduced in our
engraving, represents the large, rain-washed, and deserted
square of a provincial town, lined with rows of irregular
houses ; it is night ; the rolling black rain-clouds are scud-
ding across the sky, obscuring the moon ; in the windows
of the houses we see the glare of lamps ; at the door of the
inn the yellow diligence stands ; and the blank square
seems still to reecho with the rattling of the wheels on
the rugged pavement. " L'Orage " shows us some bright
green fields, a rail-fence, a shed with red-tiled roof, a
windmill, a watercourse, a lurid, cloudy sky, and in the
background a suggestion of forked lightning : it is a
glimpse of nature seen and uncomposed. Poussin, treat-
ing the same subject, would have painted a complete
melodrama. " La Marne " is a late evening effect. The
sunset is lost in a dark haze below the horizon, while the
vault of heaven is still illumined with vertical rose-
colored rays. There is a bridge, a lock, the bank lined
with trees, and beyond them the mass of cottages, above
which rise the finer houses of the wealthy. The river,
calm and vitreous, reflects with intensity the mirage of
the landscape and sky, while in the foreground are figures
of female bathers and of a handmaiden carrying refresh-
9

merits on a tray. The nude figures are exquisite in sil-
houette and in unconsciousness of pose. In its splendid
harmony of gray, green, and rose, this picture is a com-
plete and definitive vision of evening calm at the river-
side, familiar, and yet grave and impressive, for the hour
has something of melancholy in it.

A pale blue auroral sky flecked with white clouds, a
pond, a landscape gayly dotted with flowers, in the dis-
tance blue hills, an impression of vastness — such is the
scene in which M. Cazin depicts Tobit receiving indica-
tions from the white-robed angel. Here is Hagar, the
despairing mother, whom an angel succored. It has
been a burning hot day ; in the sky, rosy, lumpy clouds
are rolling across an arid landscape of sand-hills, dotted
here and there with parched and stunted shrubs, and un-
dulating away to a distance bounded by tragic forests.
Hagar, not having the courage to see Ishmael die, has
left him in the bush, and sits desolate on the ground,
her empty gourd beside her, clad in a sombre blue robe,
and wearing a white coiffe over her head. Meanwhile the
angel has appeared and spoken, and Hagar raises her
head and sees a clear spring where the angel stands, and
the white robe of the helpful messenger reflected in the
limpid water. Here is another evening effect : An opal-
ine and roseate sky ; in the background a group of
farm buildings and cottages ; in the foreground a field,
some pollard willows, a felled trunk, on which an old
man is seated, his head buried in his hands, dreaming or
sleeping. It is a laborer, who is weary with wielding
the axe all day. The hour for rest and recompense has
come, and beside him stands a white figure, beautiful and
compassionate, crowned with golden leaves, whom he
does not sec, but who proffers him a crown, with gestures
of consolation. In M. Cazin's mind this old man is The-
ocritus, and the phantom figure is Nature revealing her-
self to his idyllic soul. " Souvenir de Fete " is a decora-
tive and allegorical panel, a vision of the French national
10

fete seen from some lofty standpoint. From the win-
dows of his house, overlooking the gardens of the Luxem-
bourg, M. Cazin saw the vast expanse of tree-tops flecked
with the glow of Venetian lanterns, the distant domes of
the Pantheon and Val de Grace garlanded with gas-jVt,,
the vast perspective of Paris gay with lavish illumina-
tions, the fireworks bespangling the sombre blue noctur-
nal firmament with the sudden flash of pyrotechnic stars ;
and on the souvenir of this reality he embroidered his
grandiose allegory of the resurrection of the nation under
the auspices of Virtus, Scicntia, and Labor.

Here is another picture, perhaps the most important
that M. Cazin has painted. The scene represents the red
brick fortifications of a mediaeval town, with sad trees
waving on the ramparts beneath a cold and stormy
autumnal sky. Night is approaching. All day long the
smiths have been forging arms, and the fire is still alight,
and bars of iron lie on the ground beside it. On the cold
grass is the corpse of a young man. Outside the bastions
are huddled together the sick and the invalid, who are
useless for the defence of the town. In the distance is
the flowery plain and the river. On the towers the inhab-
itants are lighting beacon-fires. The town is Bethulia,
and the moment has come when Judith has vowed to kill
Holofernes. Clad in her richest robes, dark -haired, with
strong features, she leaves the town, walking with stately
tread, without turning her head, as she fastens her cloak
around her neck. Several common people are standing
to see her pass : a young woman and her babe, leaning on
her husband's shoulder, another young man wearing a
cuirass, a boy, who salutes the grave heroine. In the dis-
tance, just outside the gates, Judith's servant meets her
betrothed, and the two press one another's hands as they
continue on their contrary ways. Such is the whole pict-
ure, such the vision. "Judith went forth and her ser-
vant with her, and the people of the town watched her
until she had got down from the mountain. . . . Then,
ii

having lighted beacons on their towers, they remained
watching that night."

This " Judith " is the first of five compositions ordered
by the state for reproduction in the Gobelin's tapestry
manufactory. The series will comprise the history of
Judith — her going forth. Judith in the camp, Judith re-
turning with the head of Holofernes, the triumph of the
Bethulians, and the honored old age of the heroine, where
we shall see her sitting in her house spinning. In
"Judith,"' as in M. Cazin's other historical pictures, no
effort is made to achieve archaeological exactitude. The
costume of Judith is of all epochs and of none in partic-
ular. The dress of the other figures is that of humble
people of the present day. The fortifications are in the
style of the Middle Ages. These details do not shock or
surprise ; on the contrary, they convince us of the artist's
sincerity, and render sympathy the more easy because we
can follow the processes of his imagination. In a few-
words, here is the history of the work : One day at La
Rochelle M. Cazin found an old Bible in which the story
of Judith was artlessly told. The narrative impressed
him, and his mind continued to dwell upon it until at
Antwerp the sight of the old fortifications suggested
a pictorial image of the going forth from Bcthulia. Then,
some months afterward, at Montreuil-sur-Mer, a quaint
old town with a citadel crowning the hill, the going forth
of Judith presented itself to the painter as a complete
vision, and he gathered Halt vision as one gathers a (lower,
and reproduced it on canvas. " Je l'ai cueilli," as the
artist said to me one day, thereby expressing the spon-
taneity of his imaginative process as opposed to the
conscious and, so to speak, constructive process of a
painter who would determine to paint a subject, and
then immediately sit down to compose it and develop it,
step by step, and in cold blood. It is to this patient
waiting until the vision presents itself that we may at-
tribute those qualities of reserve, delicacy, and fineness

12

of emotion which characterize M. Cazin s work, and en-
rich it with those suggestive beauties which inspire a
dream and awaken quick sympathy in the beholder.

In landscape M. Cazin prefers to render those fugitive
effects which demand the most delicate observation and
absolute surety of eye. Vast plains, calm fields, the rose
tiles of a cottage roof emerging from pale foliage, a yel-
low flower in a desert of sand, a cottage lost in the soli-
tude of the dunes of Picardy, the shimmering of the
crescent moon on the bosom of the sea, the moist and
caressing mantle which evening throws over weary nat-
ure— such are some of the typical themes of this poet of
light, this painter of pantheistic harmonies.

In the manner of M. Cazin's painting we never remark
rough impasto, the violence of the palette knife, or the
caprices of an undisciplined brush. The aspect of his
pictures is always attractive, and their suave and distin-
guished tone is often absolutely fascinating ; the details
are subordinated to the general unity ; the picture is one
and harmonious. M. Cazin's dream of life is sweet, ten-
der, full of compassion ; his own facial type is that of
the great lovers of humanity ; the attitudes which he
gives to his figures are frequently those of resignation
and of accepted affliction ; indeed, in a whole series of
works, some of which we have briefly described, he has
rejuvenated historical painting by neglecting all academic
traditions, indulging his own temperament, and simply
interpreting the subject humanly, intimately, almost
familiarly, and yet always with gravity. We have spoken
above of M. Puvis de Chavannes as a thinker who paints.
M. Cazin may be described as a painter who thinks. M.
Puvis de Chavannes first of all conceives his theme by a
process of metaphysical and literary reasoning, and then
gives it expression by means of plastic symbols borrowed
from nature. He is, in short, essentially an idealist.
M. Cazin, on the other hand, may be called a realist.
Completely cultured, and familiar with the legends and
. 13

poems of ages, M. Cazin's faculty of pictorial conception
seems to be aroused to activity only when it comes into
contact with reality. lie sees an actual scene in Datt re,
and then his imagination interprets it, and adorns it with
some eternal symbol of compassion, of charity, of i
nation, or of simple human sentiment. Constantly inter-
rogating nature, incessantly recording notes of reality,
making drawing after drawing and study after study, in-
defatigable in the court he pays to his mistress Nature,
M. Cazin, the painter and limner, is the prodigiously
skilful auxiliary of M. Cazin the poet, the man of wide
culture, the grand artist of strong, patient, and delicate
soul.

14

CATALOGUE

\* The paintings, with the exception of those loaned
by private owners, are for sale. Prices and other infor-
mation will be furnished by the salesman in charge.

i Sunday Evening in a Colliers' Village

2 Poors' Cottages — full moon Q£

} Windmill near Dunkerque „

4 Clouds in the Valley — December night,
South of France

5 The Ruins

6 Suburb of Dunkerque
15

7 Moon Rising Over the Warren

8 Pine-tree in the South of France

9 Shepherd's Hut — November night

& -

io An Old Flemish Mill

1 1 Windmill and Cornfield in the old spot

of "Camp du Drap d'Or "

12 Village at Night — all asleep

1 3 A Warren at Noon

£ - ) y c

14 Old Houses of a Provincial Town

15 A Monastery

16 Hillside Meadow

,6 ^

17 Flower Garden at St. Mande, near Paris

1 8 Low Tide

19 Street of a French Village — Evening

Lent by M. I. Montaignac, Paris

20 Part of a Common — New harvest

2 1 Madeleine au Desert

Exposition Ceniennale de I'art Fran$ais. Expo-
sition Umverselle, 1889

Lent by M. I. Montaignac, Paris

22 Misty Evening

23 Poor Man's Rest

24 Mill by the Sea — Sunset

Lent by M. I. Montaignac, Paris
17

25 Shepherd's Hut in Spare Ground

26 St. Maurice, 1880 — Evening

Lent by M. 1. Montaignac, Paris

27 Cre-puscule d'ete

28 Les Meules

from Coquelin's Col-
lection

Lent by M.I. Montaignac, Paris

2Q Clearing — End of a wet day

30 Thornfield Castle •>

Intended for Salon an Champ de Mars, iSgf

"Jane Eyre," by Currer Bell

31 The First Star— Night coming on

32 September Landscape

33 Afternoon — Summer time *

34 The Lonely Farm — Moon rise

Lent by M. I. Montaignac, Paris

35 Malabrie's Valley, near Paris

)6 A Windmill in Flanders

Lent bv M. I. Montaignac, Paris

37 Village by the Sea — Storm approaching

38 A Cornfield

39 A Lowery Afternoon (s\j£

40 The Shore

"The sun had sunk behind the lonely
western seas. . . ." — William
Black (Mac Leod of Dare) Cy-e

41 Tiny Stacks — crop of a bad year

42 Main Street of a French Town
19

43 A Quiet Afternoon g,

44 Midnight

Lent by Mr. Charles T. Yerkes, Chicago

45 Vieille Route Louis XVI.

Lent by M. C. Couuelin, Paris

46 The Windmill

Lent by Mr. Hugh O'Neill, New York

<

47 The Home of the Artist

Lent by Mr. James F. Sutton, New York

'

48 Village Street. Seine-et-Marne — Twilight

Lent by Mr. E. M. O'Neill, Pittsburg, Ra.

49 Culture

Lent by Mr. George A. Heam, New York

50 Halte de Voyagcurs Avant la Nuit

Lent by Mr. J;imes F. Sutton, New York ,

20

5 1 Les Ruines

Lent by Mr. George A. Heam, New York

52 Starlight

Lent by Mr. John B. Ladd, Brooklyn .

53 Group of Cherry Trees

• Lent by Mr. F. Draz, New York

54 Street of the Village

Lent by Mr. C. P. Huntington, New York

55 A Mower

Lent by Messrs. Schaus & Co., New York

56 Cottages

Lent by Mrs. W. Tod Helmuth

57 Melting Snow

Lent by Messrs. Schaus & Co., New York

58 September Night

Lent by Mr. L. Crist Delmonico, New York

59 The Barley Field "

Lent by Mr. E. Burgess Warren, Philadelphia

60 Chaville

Lent by Mr. L. Crist Delmonico, New York

61 Weary Wayfarers — -^

Lent by Mr. W. A. Clark, Montana

62 Sunset

Lent by Mr. E. Burgess Warren, Philadelphia

63 A Garden

Estate of tl

Lent by the Estate of the late Mr. David C. Lyall,
New York

64 Full Moon

Lent by Mr. L. Crist Delmonico, New York

65 Paradise Lost

Lent by*Mr. Potter Palmer, Chicago

' Mr. Potter Pair

66 The Isolated Haystack

Lent by Mr. S. M. Nickerson, Chicago .
22

67 Canal St. Omer

Lent by Mr. L. Crist Delmonico, New York

68 Sunset

Lent by Messrs. M. Knoedler & Co., New York

69 Fishermen's Homes — Evening

Lent by Mr. Richard S. Barnes, Brooklyn

70 A Wretched Harvest — more rain to-
morrow

Lent by Mr. T. J. Blakeslee, New'York

71 The Carrier's Cart

Lent by Mr. Samuel Untermyer, New York

York

72 Home by the Sea

£

Lent by Mr. Potter Palmer, Chicago

73 Evening at Robinson, near Paris

Lent by Messrs. Reichard & Co., New York

/

74 My Garden — September evening

Lent by Mr. J. Eastman Chase, Boston
23

75 Elsinore— " 'Tis now struck twelve!"

Lent by Mr. Potter Palmer, Chicago

76 Farm of a Retired Sailor

Lent by Mr. Samuel P. Avery, Jr., New York

77 Going Home Before the Storm

Lent by Mr. Robert K. McNeely, Philadelphia

78 The Fisherman's Cottage

Lent by Mr. George W. Elkins, Philadelphia

79 Dunes in Springtime

Lent by Mr. Frederic Bonner, New York

80 Night

Lent by Mr. John G. Johnson, Philadelphia

81 A Former Royal Highway

Lent by Messrs. M. Knoedler & Co., New York

<7

82 Night at Samer

Lent by Mr. W. L. Elkins, Philadelphia

83 Rosy Sunset

Lent by Daniel Catlin, St. Louis
24

84 Starlight — December

Lent by Mr. John G. Johnson, Philadelphia

85 Bourg-la-Reine

Lent by Messrs. M. Knoedler & Co.. New York-'

86 Suburb of Antwerp

Lent by Mr. P. A. B. Widener, Philadelphia

87 Wheat Harvest

Lent by Mr. Potter Palmer, Chicago

88 The Pool— sunset

Lent by Mr. John G. Johnson, Philadelphia

89 English Farm — rising mist

Lent by Mr. Frederic Bonner, New York

90 A Farm in Holland

Lent by Mr. Benjamin Altman, New York

91 Petite Hollande, near St. Omer

Lent by Mrs. G. E. Dodge, New York
25

92 Moonlight

Lent by Mr. Louis Stern, New York

93 "M.-sur-M." — Les Mis£rables — Victor

Hugo

Lent by Mr. W. L. Elkins, Philadelphia

94 A Dyke in Holland

Lent by Mr. Frederic Bonner, New York

95 "Theocrite"

Lent by M. Duranii-Ruel, New York

96 Street Scene, Village in Picardy

Lent by Mr. W. L. Elkins, Philadelphia

97 The Bridge \Jr.

Lent by Mr. Potter Palmer, Chicago

98 A Vineyard, Seine-et-Marne

Lent by Mr. Frederic Bonner, New York

99 Starlight Night

From the Salon du Champ-de-Mars, 1890

Lent by Mr. E. Burgess Warren, Philadelphia
26

ioo Windmill — Windy weather

Lent by Messrs. Schaus & Co., New York

ioi Twilight

Lent by Mr. Frederic Bonner, New York

1 02 St. Catharine

"The heaven indeed is high; the
earth is great ; the sea is im-
mense; the stars are beautiful;
but He who made all these things
must needs be greater and more
beautiful" ^

Lent by Mr. Potter Palmer, Chicago

103 The Departure

Lent by the Estate of the late Mr. William Schaus,
New York

104 The White Mill

Lent by Mr. L. Crist Delmonico, New York

i os Lake in Flanders

Lent by Mr. Frederic Bonner, New YorK
27

106 Zuyder Zee

Lent by Mr. Potter Pnlmer, Chicago

107 Two Water Mills

"Stream passes and wheel turns day
and night" ^

Intend,;/ for Salon du Chamf-de-Mars, 1894
Lent by Messrs. Boussod, Valadon & Co., New York

108 Moonlight Night

Lent by Mr. Charles Stewart Smith, New York

109 Early Moon

Lent by Mr. John Caldwell, Pittsburg, Pa.

110 Wheat Harvest

Lent by Mr. William Buchanan] New York

1 1 1 Moonlight in Holland

Lent by the Corcoran Gallery of Art, Washington, D.C.

112 Home of the Coast Guard— Starlight

Lent by M. I. Montaignac, Paris
2S

"A." Orphans — Group in bronze by Ma-
dame Marie Cazin
"B." Series of Medals by J. M. Michel Cazin

From the French Department World's Columbian
Exposition, Chicago

29

ETCHINGS

BY

J. M. MICHEL CAZIN

113 A Magistrate, after Rembrandt

(Antwerp)

114 A Boat Master, alter Marie Cazin

1 1 5 Savonarole, after Marie Cazin

ORIGINAL SUBJECTS

116 Sister St. Paulin

117 Young Fisherman

118 Wounded Soldier

30

1 19 Old Man Smoking

120 A Shooting Ground — guard

121 Portrait of Mr. Braeunig

122 Spanish Girl

123 An Old Widower

124 A Philosopher

STUDIES

125 Study from Franz Hals (Haarlem)

126 Study from A. Durer (Brussels)

127 Study from Rembrandt (Antwerp)
31

128 Study from Rembrandt (Brussels)

129 Study from Rembrandt (Amsterdam)

130 Study from Rembrandt (London)

The American Art Association

Managers

32

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